CW: battle, character death, animal cruelty, murder
The author asked me to be an ARC reviewer for her debut novel. Below is my comprehensive feedback.
The author has a good grasp of language and description. There are some very nice passages in the prose, which paint a vivid picture of the world and animals that inhabit it. At times, the descriptions are very poetic and I felt like they fit the magical atmosphere of the story well.
Whereas the grammar of the story is relatively strong, the author suffers a bit with mechanics, specifically when it comes to dialogue. The most memorable weakness to me is the use of unnecessary or leading dialogue tags. When a character says something clever, occasionally it is okay to put “he/she quipped,” mostly, I think, to indicate that the character purposely meant to sound clever or be funny. But when applied to all of Jesse’s attempts at humor or wit, it begins to sound imploring. These dialogue tags are the author winking at us from the page, saying, “Jesse’s very clever and funny, isn’t he? Look at how witty and dry his humor is.” For the most part, I was not amused. If a line is clever or funny, it should be able to stand on its own; I shouldn’t need to be told that I should find it amusing. Apart from that, the other notable mechanics weaknesses are 1) the author is inconsistent with placing the comma in front of a spoken name in a sentence (i.e. “What are you doing Jesse?” when it should be “What are you doing, Jesse?”), and 2) she is not aware that in continuous dialogue from a character, where paragraph breaks are utilized but the same character keeps talking, that the end quotes should be left off the dialogue paragraph that is ending to indicate that the speaker is continuing through to the next paragraph. I.e:
“Ellystra wielders must navigate the fine line between reality and fantasy, often at the cost of their perception of truth. [no end quote since the character continues speaking]
“Junilo, the magic of unity.”
3) the italicized asides. Normally, when I see text italicized, it’s meant to indicate that the character is thinking to themselves, but when that is the case, the tense should be present tense, not past. (Why are they gathering artefacts? not Why were they gathering artefacts?) Sometimes during these italicized asides, past tense was used not present, so it was jarring and confusing as to whether it was meant to be the character’s thoughts.
There are positives to the world’s characterization, though. The world of Eldora is magical and fun. It’s nice to see that it’s a place where mythical creatures are treated with awe and respect, and different dimensional species live in harmony. I like the author’s world-building and the idea of Eldora as a parallel dimension sandwiched on top of ours. I’m a big fan of fantasy/sci-fi, and I love to read about authors’ unique takes on what a magical or modernized world might look like. I’m also a sucker for The Chosen One and the Underdog tropes, so the plotline of two unsuspecting, relatively normal kids chosen for something grand is definitely down my alley.
The plot suffers from hyperactivity and broad writing strokes, however. By this I mean that the story jumps from one action or plot-progressing scene to the next with no breath in between. There is barely any connective tissue in this novel. Most glaring to me are the lack of magic learning and character interaction in this story. The story’s setting is a prestigious magic school in another world, but there is only one chapter where we see the students of Glyndor learning any magic at all (the rune practice, after they’ve already been shoehorned into a magic label). Jesse, Emily, and Victoria are from Earth, so the reality of magic is entirely new to them, they have no formal training or practical understanding of how to use magic, and ostensibly they are going to learn how to control their powers at Glyndor. But we do not see them learn how to control their magic, other than that one chapter, which is 28 chapters (72%) into the novel. We do see plenty of chapters where the students are lectured on plot-relevant subjects by the professors at the school, but that’s all. We also hardly ever see the main characters interacting in organic ways. There’s very little banter, deep conversation, or moments of getting to know and understand each other. Characters are included in the chapters only when they have a specific purpose—otherwise they disappear for chapters on end, seemingly forgotten (like Bella, Victoria, Audrey/Magnus). It’s possible that if we had more content depicting the magic classes/events between the students at Glyndor then both the metaphorical birds mentioned in this paragraph could be killed with one stone.
Unfortunately, the character writing needs a lot of work. Part of it is due to the characters not being fleshed out all the way, and part of it is because of the way the book is structured, with no breathing spots, as I mentioned in the last paragraph. The author tells us what to think too often. Rather than letting us form our own opinions based on the characters’ voices or actions, the author tells us ad nauseam that Jesse has just made a zingy one-liner; that Emily is the kindest, gentlest soul; that Jelna and Bella are too beautiful and graceful for words. The characters are not given enough space to breathe or feel real, and so they all feel like hollow archetypes. Jesse, the plucky intellectual; Emily, the sweet cinnamon roll; Alex, the muscle-head with a heart of gold; Victoria, the justified rule-breaker; Jelna, the otherworldly guide; Ronan, the rebel with a conscience; Bella, the misunderstood beauty; Magnus/Audrey, the elite assholes. I think that the reader—and the characters themselves—could form more legitimate connections if they were given more time to spend in the world of Eldora, in classes, or having fun or meaningful interactions. We need to be shown how Jesse, Emily, Victoria, and/or Alex are friends, rather than being told that they are whenever a plot-specific event has to happen. We need bonding scenes between Jesse and Emily to establish their attraction, rather than assuming it's an instant and forgone conclusion. The Jesse/Emily romantic connection was too fast and I just didn’t believe it.
(As a side note, I found the inclusion of the Soulmate Compass unnecessary. I know it is supposed to be a cute, special sort of gesture, but since the romance between Jesse and Emily feels so contrived, it just doesn’t do much for me.)
I will say that I liked Alex’s voice. Truth be told, he probably says “bro” more than he ought to, and if I knew him irl, I’d probably find him extremely annoying, but disregarding that, I laughed and smiled at his dialogue. He’s very straightforward and sincere and I enjoyed him from intro til the end.
I can go on for a long time on the characterization of each character, but I don’t want to take up too much text, since this is already a long review. I will hit only on the biggest flaws I perceived.
Jesse’s character baffles me. His introductory conversation with Jelna has so many assumptions and wild leaps in knowledge and logic. How does Jesse know what Elizabethean era clothes look like, and what the “characteristic sheen” of velvet is? Who knows such things but historians or fashion/costume designers? He pulls deductions out of thin air and I can’t see where this teenager could have gotten such a wide breadth of knowledge. His deductions at the intro to his character are reminiscent of Sherlock Holmes’ logic. I actually made a note to myself that said, “We better find out later that Jesse has some sort of magical foresight powers or this is just not believable.” I mentioned this prior, but Jesse’s character is also obviously supposed to be funny and dry-humored, and therefore charming because of these attributes, but I feel like Alex is more authentically funny and charming than Jesse. The dialogue tags and the giggling of Jesse’s female friends can insist that Jesse’s one-liner was funny all they want, but if the reader doesn’t laugh, then it feels insincere.
I find it a little odd that Emily is relentlessly bullied growing up in Seoul, and yet she shows no evidence of that in her personality. No skittishness, no insecurity, she’s just a perfect ball of sunshine all the while. And so instantly accepting of Jelna’s first approach! It felt unreal. Emily is just too quick to accept things… Also, Emily was born and raised in South Korea and in her intro chapter, we’re told her given name is Eun-Bi. Why, then, does she go by Emily, even at home with her grandma? It seems odd. I know many Asian persons tend to take an English name if they’re abroad, just for the ease of ignorant Americans, but I know few who go by English names in lieu of their given name in their own country. I assume that Emily speaks perfect English because of her gift as a Silvertongue, but I would have liked an explanation that she had taken English in school, or at least a sentence to gloss over why she can speak perfect English to Jesse after living her whole life in another country that doesn’t have English as a native, wide spoken language.
Victoria’s character is set up as fiery and eager to prove herself. Her desire to succeed at Glyndor is said to be almost desperate, and she’s also noted to have a competitive nature. So her reaction to being “saved” at her shadow duel does not make sense to me. If I was a proud, desperate person like Victoria, and a stranger interfered with my moment to prove myself, afterward I would be ashamed and upset at best, and pissed off at worst. If not for Jesse stepping in with that, frankly, deux ex machina magic, Victoria would have been destroyed or expelled or whatever happens if you lose the shadow duel. The last emotion she should feel after Jesse saves her is gratefulness. It would make more sense, given her character, for Victoria to view Jesse as competition or patronizing her. In that scenario, there is a good opportunity for character interaction, in which Jesse and Victoria get to know each other, come to respect each other, and eventually become friends.
Ronan is notoriously under-represented given the pivotal role he has in the climax. Jesse receives his punishment to be chaperone of the Thautmage Academy students at the end of chapter 13, and in chapter 14, we have our first glimpse of the Thautmage students and Ronan is introduced. Alex mentions that these students are troublemakers and there is some posturing and jeering in this chapter, however, Ronan and the Thautmage gang don’t cause much trouble and the chapter ends without incident. The next time Ronan is mentioned it’s only in passing in chapter 16. Then we don’t see Ronan again until chapter 21, when Jesse buys the tracking bracelet for himself and Ronan. In this scene, Jesse “senses an opportunity,” as though he has been struggling with keeping track of Ronan all along. But if he has, we haven’t seen any of it; in the context of the novel, this is only the 2nd interaction between the two characters. Seven chapters have gone by with no interaction between Jesse and Ronan, and there hasn’t been a single instance of Jesse chaperoning Thautmage students. This plot point is ignored until it becomes plot-relevant in chapter 23, and by that point, Ronan and Jesse’s relationship does a complete 180 (or it would have if they had had much of a relationship before this). I found this chapter just… shocking. And not in a good way. Ronan’s apology happened way too fast, and Jesse’s life-saving solution was downright strange. Also, I think there is a continuity error: Jesse throws the olive bread at the lion, then somehow has a “remaining” piece. Jesse saving Ronan is sudden and contrived and there really should have been a more established relationship between the two before Jesse wins Ronan’s admiration and allegiance. (Also, Ronan pees his pants in the cave, and yet he’s not embarrassed afterwards and none of the other students notice?)
Morwyn as the Big Evil feels anti-climatic. He is a caricature of a bad guy: black cloak, skulking around in the shadows, killing gods for the fun of it, preaching about a new world. We’ve seen this type a million times—though that’s not the criticism here. A bad guy is a bad guy, and what people associate as evil is pretty mainstream; it’s more about his usage and role in the novel. He hangs over everyone’s head as this great threat, but he barely has any bearing on the actual plot and he doesn’t even appear in the end fight as a major player. I think he is mentioned as a glimpse, if at all, at the end.
All that said, the author has laid groundwork for twists and plot devices that come up later in the story, which is commendable. I like that there is a reason for the bracelets, and that the well and portal device came up with more significance later. I also like the twist about the key to Eldora.
Points of Confusion:
The inclusion of all manner of folk heroes, legends, and mythology. I was taken aback by mentions of Beowulf, the Monkey King, the goddess Artemis, the Nemean Lion. It feels incongruous, perhaps because although it’s mentioned that Eldora is another dimension, there is never a detailed discussion of any other dimensions, or how legends on Earth are actually based on realities of other realms
Is it supposed to be Victoria who put the whole tavern to sleep and stole the kodarix in the beginning of the novel? That isn’t really addressed properly, and that scene makes it seem like she is a bad guy and that the event is going to lead somewhere important later. If it is meant to be Victoria stealing, it stands out as odd that it is made out to be so sneaky for something with so little payoff later. Also, she’s from Earth, presumably not trained in magic yet, so how does she wield magic strongly and deftly enough to put a whole tavern to sleep just so she could nab a book off a corkboard?
The channeling of magic through song, as Victoria does is understandable, as I can see how songs and spellwork/incantations feed into each other, but Bella’s dance(?) magic baffles me. What does that even look like? I couldn’t really take it seriously, especially at the Mirror Ball and the finale of the climax.
Why do all the people from Eldora speak like bad larpers at a Renaissance Faire? I’m assuming that the author wanted to make them sound fancy or old-timey, but it just strikes me as odd, especially for those who are being schooled at Glyndor possibly for the purpose of living an exceptional life on Earth. There’s more license with the speech patterns of the non-humanoids, perhaps, but I’m not sure why the humans (are they humans if they live in Eldora?) would speak like they’re from a bygone era if they have frequent contact with the Earth dimension.
Not entirely sure why Audrey and Magnus were included as they had no practical purpose in the story. They appeared in perhaps 3 scenes in the book in which they spoke or took an action and for the rest of the novel they were irrelevant.
In conclusion, the author has decent prose chops and an interesting world in which to stage her adventures. She understands a novel’s structure, planting seeds for future payoff and hitting the right narrative notes to bring a novel from beginning to end, but the pacing, dialogue, and characterization could do with some workshopping.